1995 was the year directors Lars von Trier, Thomas Vinterberg and their supporters attempted to revolutionise Danish filmmaking by founding the controversial but influential ‘Dogme 95’ movement. It began with a manifesto, written by the two in just 45 minutes, outlining what they deemed the formula to create a quality film that could rival the movement mainstream Hollywood was taking at the time, which was resented by many.
The aim was to cut back to cinema’s simple roots by rejecting expensive and impressive special effects and other technical gimmicks. As von Trier himself puts it, returning to the “traditional values of story, acting and theme”. It encourages filmmakers to concentrate on the narrative and performances in order to produce a quality and organic film and was also influenced by previous movements such as realism and French new wave.
In order to create a film that is true to the movement, there are ten key rules that must be very strictly adhered to before it receives a certificate authenticating it. To begin with, filming must be done on location, with no props, special lighting or sound being allowed that are not naturally found there – this creates an authentic environment to better connect with the audience. All filming must also be done with a hand-held camera in Academy 35mm format and without the use of any filters or visual effects. Further requirements forbid adhering to genre or including any superficial action nor temporal or geographical alienation (meaning it must take place in the present) – all part of the ‘organic’ aim. It is also important for the director not to be credited, being “no longer an artist” but more an enabler for a story to play out and speak to an audience “at the cost of any good taste and any aesthetic considerations” – as stated in the Dogme 95 ‘Vow of Chastity’ to the movement.
When the movement was first announced at Le cinéma vers son deuxième conference in Paris, it was met with bewilderment from much of the crowd, who were bemused by this extreme approach to the future of film. However, some of the certified Dogme films have been successful and celebrated, including the very first example: Thomas Vinterberg’s ‘Festen’ (1998) a renowned Danish drama following the bizarre events that unfold over the course of a family celebration drenched in generational trauma, and which was awarded the prestigious Jury Prize at the 1998 Cannes Film Festival. I would definitely recommend it to anyone interested in the movement.
The movement ended in 2005 after criticisms by critics and directors alike until the founders admitted that the films produced were becoming too formulaic and constraining and losing creativity but its radical impact on the industry is still respected.
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